WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 As a Masterpiece of Late Gothic Architecture
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The Death of the City and the Survival of Urban Life Center of Contemporary Culture of Barcelona 2004 Conference Lectured at the Symposium “Urban Traumas
www.urban.cccb.org Richard Ingersoll The Death of the City and the Survival of Urban Life Center of Contemporary Culture of Barcelona 2004 Conference lectured at the symposium “Urban Traumas. The City and Disasters”. CCCB, 7-11 July 2004 Strolling through the cemetery of Montparnasse in Paris, I fantasize a poker game with an ideal community of the defunct that includes Marguerite Duras, Charles Baudelaire, Delphine Seyrig, and Samuel Beckett. Their modest burial markers rest alongside the ornate aedicules of the proud and powerful, belle époque generals and financiers. Looking around at the densely packed lanes lined with tombs, there seems to be no room left. The necropolis is so crowded that for a moment I have the infantile notion that no one else will be allowed to die. The Montparnasse cemetery is right in the midst of one of the busiest parts of the Left Bank, and to enter is to escape from the tedium of daily life, a place to contemplate the life of the past. In the background rises the immense black, glass-clad tower of Montparnasse, a soaring catacomb for modern offices. Life goes on in the city, overlooking the cemetery, but, as I will try to show, it was never the city itself that was alive. In fact I am often convinced while visiting cemeteries that the only reason the city became a place is because someone died there. René Girard in his theory of the scapegoat suggests that architecture began with stones used to lapidate a victim. «In the end», says Girard, «the tomb is the first and only cultural symbol». -
Bulletin Trimestriel 3Ème Trimestre 2014 10.15 Mo
juin 2014 – 3e trimestre 2014 ÉDITORIAL Le Président, Marc FUMAROLI, de l’Académie française la société des amis du louvre Chers Amis du Louvre, a offert au musée À l’occasion de notre Assemblée générale qui s’est tenue à l’Auditorium du Louvre le n Deux dessins de Giovanni Francesco 6 mai dernier, le Président Martinez a fait connaître aux Amis du Louvre venus nombreux Romanelli : L’Enlèvement des Sabines ce jour-là, l’acquisition majeure que nous venons de faire en partenariat avec le Musée et et La Continence de Scipion dont je vous avais déjà parlé à mots couverts dans notre précédent Bulletin. n Nicolas Besnier Il s’agit d’un chef-d’œuvre de l’orfèvrerie parisienne du XVIIIe siècle : deux pots à oille Deux pots à oille du service Walpole datés de 1726 signés de l’orfèvre du Roi Nicolas Besnier (1685-1754). Ils proviennent du service de table du grand homme d’Etat anglais et grand collectionneur, Robert Walpole . Cet achat prestigieux a été fi nancé à parts égales entre le Musée et notre Société pour un montant total de 5,5 millions d’euros. Je remercie Madame Michèle Bimbenet-Privat, conservateur en chef au département des Objets d’art, de nous présenter dans ce Bulletin cette merveille de style de transition Louis XIV-Louis XV et que nous avons souhaité offrir au Musée pour compléter la fête qui se prépare lors de l’ouverture le 6 juin prochain des nouvelles salles des Arts décoratifs XVIIe-XVIIIe. Les deux pots à oille du service Walpole seront exposés en hommage aux Amis du Louvre dans la Chambre du duc de Chevreuse. -
P22 445 Index
INDEXRUNNING HEAD VERSO PAGES 445 Explanatory or more relevant references (where there are many) are given in bold. Dates are given for all artists and architects. Numbers in italics are picture references. A Aurleder, John (b. 1948) 345 Aalto, Alvar (1898–1976) 273 Automobile Club 212 Abadie, Paul (1812–84) 256 Avenues Abaquesne, Masséot 417 Av. des Champs-Elysées 212 Abbate, Nicolo dell’ (c. 1510–71) 147 Av. Daumesnil 310 Abélard, Pierre 10, 42, 327 Av. Foch 222 Absinthe Drinkers, The (Edgar Degas) 83 Av. Montaigne 222 Académie Française 73 Av. de l’Observatoire 96 Alexander III, Pope 25 Av. Victor-Hugo 222 Allée de Longchamp 357 Allée des Cygnes 135 B Alphand, Jean-Charles 223 Bacon, Francis (1909–92) 270 American Embassy 222 Ballu, Théodore (1817–85) 260 André, Albert (1869–1954) 413 Baltard, Victor (1805–74) 261, 263 Anguier, François (c. 1604–69) 98, Balzac, Honoré de 18, 117, 224, 327, 241, 302 350, 370; (statue ) 108 Anguier, Michel (1614–86) 98, 189 Banque de France 250 Anne of Austria, mother of Louis XIV Barrias, Louis-Ernest (1841–1905) 89, 98, 248 135, 215 Antoine, J.-D. (1771–75) 73 Barry, Mme du 17, 34, 386, 392, 393 Apollinaire, Guillaume (1880–1918) 92 Bartholdi, Auguste (1834–1904) 96, Aquarium du Trocadéro 419 108, 260 Arc de Triomphe 17, 220 Barye, Antoine-Louis (1795–1875) 189 Arc de Triomphe du Carrousel 194 Baselitz, Georg (b. 1938) 273 Arceuil, Aqueduct de 372 Bassin du Combat 320 Archipenko, Alexander (1887–1964) Bassin de la Villette 320 267 Bastien-Lepage, Jules (1848–84) 89, Arènes de Lutèce 60 284 Arlandes, François d’ 103, 351 Bastille 16, 307 Arman, Armand Fernandez Bateau-Lavoir 254 (1928–2005) 270 Batignolles 18, 83, 234 Arp, Hans (Jean: 1886–1966) 269, 341 Baudelaire, Charles 31, 40, 82, 90, 96, Arras, Jean d’ 412 108 Arsenal 308 Baudot, Anatole de (1834–1915) 254 Assemblée Nationale 91 Baudry, F. -
Limonaire Frères Paris, 1839 — 1936*
Carousel Organ , Issue No. 26 — January, 2006 Limonaire Frères Paris, 1839 — 1936* Andrea Stadler “Limonaire” is without any doubt the most famous name in the field of mechanical music. In 1906 it became (accord- ing to “le petit Robert de la langue française,” ed. 1986) a standardized name to be found in French dictionaries, gen- erally as a synonym for a carousel organ. There are several instruments bearing the name Limonaire found in muse- ums or in public or private collections, about which there is technical documentation. On the other hand, we knew almost nothing about “les Frères Limonaire” and the history of the firm, until a German university student, Andrea Stadler, took the time during the preparation of her doctorate, to do extensive research in the archives of the Records Office, commercial and notarial records, and elsewhere. Most of the private documents of the Limonaire family have disappeared. She also had the chance to interview some rare descendants of the family. She has given us the honour to publish in the Carousel Organ , for the first time in English, some parts of the results of her investigation. Philippe Rouillé First part: 1839-1886 The different establishments “Limonaire Frères” When examining the history of the “Limonaire Frères,” one finds that this firm has existed twice under this name in the history of musical instruments. The Bottin , a French commer- cial directory, mentions them from 1839 to 1841 and again from 1887 till 1920. After 1920, the Sociétés succeeding the Limonaire brothers took over a major part of the famous organ builders. -
The Petite Commande of 1664: Burlesque in the Gardens of Versailles Thomasf
The Petite Commande of 1664: Burlesque in the Gardens of Versailles ThomasF. Hedin It was Pierre Francastel who christened the most famous the west (Figs. 1, 2, both showing the expanded zone four program of sculpture in the history of Versailles: the Grande years later). We know the northern end of the axis as the Commande of 1674.1 The program consisted of twenty-four Allee d'Eau. The upper half of the zone, which is divided into statues and was planned for the Parterre d'Eau, a square two identical halves, is known to us today as the Parterre du puzzle of basins that lay on the terrace in front of the main Nord (Fig. 2). The axis terminates in a round pool, known in western facade for about ten years. The puzzle itself was the sources as "le rondeau" and sometimes "le grand ron- designed by Andre Le N6tre or Charles Le Brun, or by the deau."2 The wall in back of it takes a series of ninety-degree two artists working together, but the two dozen statues were turns as it travels along, leaving two niches in the middle and designed by Le Brun alone. They break down into six quar- another to either side (Fig. 1). The woods on the pool's tets: the Elements, the Seasons, the Parts of the Day, the Parts of southern side have four right-angled niches of their own, the World, the Temperamentsof Man, and the Poems. The balancing those in the wall. On July 17, 1664, during the Grande Commande of 1674 was not the first program of construction of the wall, Le Notre informed the king by statues in the gardens of Versailles, although it certainly was memo that he was erecting an iron gate, some seventy feet the largest and most elaborate from an iconographic point of long, in the middle of it.3 Along with his text he sent a view. -
The Baroque Era 1. Title 2. Anthony Van Dyke, Charles I Dismounted, Oil on Canvas, 1635 3. Diego Velázquez, King Philip IV Of
The Baroque Era 1. Title 2. Anthony van Dyke, Charles I Dismounted, oil on canvas, 1635 3. Diego Velázquez, King Philip IV of Spain (Fraga Philip), oil on canvas, 1644 4. Charles leBrun, Apotheosis of Louis XIV, oil on canvas, 1677 5. Hyacinthe Rigaud, Portrait of Louis XIV, oil on canvas, 1701; 6. Aerial view, Palace of Versailles, Louis Le Vau and Jules Hardouin-Mansart, architects; interior design Le Vau and Hardouin-Mansart with Charles LeBrun, masonry, stone, wood, iron and gold leaf; sculpture in bronze and marble; original gardens designed by André LeNôtre, Versailles, France, begun 1669 7. Plan of Versailles and gardens 8. “Le Vau envelop,” courtyard 9. alternate view of above 10. Louis Le Vau, Jules Hardouin-Mansart, and Charles LeBrun, Hall of Mirrors, Chateau de Versailles, ca. 1680 11. Louis Le Vau, Jules Hardouin-Mansart, and Charles LeBrun, Hall of Mirrors, Chateau de Versailles, ca. 1680 (after 2007 restoration) 12. Charles LeBrun, The King Governs by Himself, from the ceiling of the Hall of Mirrors 13. Jules Hardouin-Mansart and Charles Le Brun, Salon de la Guerre, Chateau de Versailles, ca. 1680 14. Jules Hardouin-Mansart and Charles Le Brun, detail of bas relief of Louis XIV on Horseback, Salon de la Guerre, Chateau de Versailles, ca. 1680 15. Jules Hardouin-Mansart and Charles Le Brun, Salon de la Paix, Chateau de Versailles, ca. 1681-1686 16. Charles LeBrun, La Salle des Gardes de la Reine 17. Jules Hardouin-Mansart, Royal Chapel, upper level, Chateau de Versailles, 1698 18. Palace of Versailles, gardens originally designed by André LeNôtre 19. -
The Influence of Major Cities Architecture on Form of Krakow Town Houses from the Turn of the 20 Th Century
International Journal of Arts & Sciences, CD-ROM. ISSN: 1944-6934 :: 08(01):305–315 (2015) THE INFLUENCE OF MAJOR CITIES ARCHITECTURE ON FORM OF KRAKOW TOWN HOUSES FROM THE TURN OF THE 20 TH CENTURY Beata Makowska Krakow University of Technology, Poland Krakow town houses dating from the turn of the 20 th century combine a local tradition with tendencies popularized in major European cities ( i.a. Vienna, Paris, Berlin). They present stylistic diversity and individualization of the arrangement of their facades. Many of town houses were apparently influenced, among others, by the then important Vienna school. The decorations combine both the typical geometrical motifs of the Wiener Secession and plant motifs that were usually limited to clearly separated spaces. The influence of the Wiener Secession can be seen in geometrised forms, especially in the motif of a circle with three vertical strips, where the middle strip was often the longest one. In many Krakow structures the impact of Wagner’s works is visible – this refers, among others, to the method of arrangement of decorations on the fa çade (the “floating” façade), in the selection of forms, such as aluminium pins (dots), geometrical divisions (checks), the attic consisting of the simple sectional form supplemented by an iron guard-rail fixed on bricked brackets over the eaves, the window joinery with square divisions (the Quadrastil promoted by the Wiener Werkstätte ), borders of main façade fields, the graphic treatment of bars between windows, or the introduction of inscriptions on façades that are used not only because of their symbolic meaning, but also due to the value of their composition and decorations. -
Syllabus Paris
Institut de Langue et de Culture Française Spring Semester 2017 Paris, World Arts Capital PE Perrier de La Bâthie / [email protected] Paris, World Capital of Arts and Architecture From the 17th through the 20th centuries Since the reign of Louis XIV until the mid-20th century, Paris had held the role of World Capital of Arts. For three centuries, the City of Light was the place of the most audacious and innovative artistic advances, focusing on itself the attention of the whole world. This survey course offers students a wide panorama on the evolution of arts and architecture in France and more particularly in Paris, from the beginning of the 17th century to nowadays. The streets of the French capital still preserve the tracks of its glorious history through its buildings, its town planning and its great collections of painting, sculpture and decorative arts. As an incubator of modernity, Paris saw the rising of a new epoch governed – for better or worse – by faith in progress and reason. As literature and science, art participated in the transformations of society, being surely its more accurate reflection. Since the French Revolution, art have accompanied political and social changes, opened to the contestation of academic practice, and led to an artistic and architectural avant-garde driven to depict contemporary experience and to develop new representational means. Creators, by their plastic experiments and their creativity, give the definitive boost to a modern aesthetics and new references. After the trauma of both World War and the American economic and cultural new hegemony, appeared a new artistic order, where artists confronted with mass-consumer society, challenging an insane post-war modernity. -
Jules Lavirotte (1864-1929) Ou L'art Nouveau Symboliste
Les Cahiers de la recherche architecturale urbaine et paysagère Actualités de la recherche | 2021 Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste Article Jules Lavirotte (1864-1929) or the Symbolist Art Nouveau Bruno Montamat Édition électronique URL : https://journals.openedition.org/craup/6556 DOI : 10.4000/craup.6556 ISSN : 2606-7498 Éditeur Ministère de la Culture Référence électronique Bruno Montamat, « Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste », Les Cahiers de la recherche architecturale urbaine et paysagère [En ligne], Actualités de la recherche, mis en ligne le 23 mars 2021, consulté le 06 juillet 2021. URL : http://journals.openedition.org/craup/6556 ; DOI : https:// doi.org/10.4000/craup.6556 Ce document a été généré automatiquement le 6 juillet 2021. Les Cahiers de la recherche architecturale, urbaine et paysagère sont mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Pas de Modification 3.0 France. Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste 1 Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste Article Jules Lavirotte (1864-1929) or the Symbolist Art Nouveau Bruno Montamat « Tous demandent à voir la maison, et personne à voir Monsieur. » Jean de La Bruyère, « De la mode », Les Caractères, Paris, Garnier frères, 1876, p. 7. 1 Sans réactiver l’éternel conflit opposant Proust à Sainte-Beuve au sujet de la place du vécu de l’artiste dans la compréhension de son œuvre, force est de constater que lorsque le fonds d’agence d’un architecte a disparu, l’historien doit se tourner vers l’exercice de la biographie pour tenter d’appréhender au mieux ses intentions. -
The Story of Architecture
A/ft CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY CORNELL UNIVERSITY LIBRARY 924 062 545 193 Production Note Cornell University Library pro- duced this volume to replace the irreparably deteriorated original. It was scanned using Xerox soft- ware and equipment at 600 dots per inch resolution and com- pressed prior to storage using CCITT Group 4 compression. The digital data were used to create Cornell's replacement volume on paper that meets the ANSI Stand- ard Z39. 48-1984. The production of this volume was supported in part by the Commission on Pres- ervation and Access and the Xerox Corporation. Digital file copy- right by Cornell University Library 1992. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924062545193 o o I I < y 5 o < A. O u < 3 w s H > ua: S O Q J H HE STORY OF ARCHITECTURE: AN OUTLINE OF THE STYLES IN T ALL COUNTRIES • « « * BY CHARLES THOMPSON MATHEWS, M. A. FELLOW OF THE AMERICAN INSTITUTE OF ARCHITECTS AUTHOR OF THE RENAISSANCE UNDER THE VALOIS NEW YORK D. APPLETON AND COMPANY 1896 Copyright, 1896, By D. APPLETON AND COMPANY. INTRODUCTORY. Architecture, like philosophy, dates from the morning of the mind's history. Primitive man found Nature beautiful to look at, wet and uncomfortable to live in; a shelter became the first desideratum; and hence arose " the most useful of the fine arts, and the finest of the useful arts." Its history, however, does not begin until the thought of beauty had insinuated itself into the mind of the builder. -
Architecture: the Museum As Muse Museum Education Program for Grades 6-12
Architecture: The Museum as Muse Museum Education Program for Grades 6-12 Program Outline & Volunteer Resource Package Single Visit Program Option : 2 HOURS Contents of Resource Package Contents Page Program Development & Description 1 Learning Objectives for Students & Preparation Guidelines 2 One Page Program Outline 3 Powerpoint Presentation Overview 4 - 24 Glossary – Architectural Terms 24 - 27 Multimedia Resource Lists (Potential Research Activities) 27 - 31 Field Journal Sample 32 - 34 Glossary – Descriptive Words Program Development This programme was conceived in conjunction with the MOA Renewal project which expanded the Museum galleries, storages and research areas. The excitement that developed during this process of planning for these expanded spaces created a renewed enthusiasm for the architecture of Arthur Erickson and the landscape architecture of Cornelia Oberlander. Over three years the programme was developed with the assistance of teacher specialists, Jane Kinegal, Cambie Secondary School and Russ Timothy Evans, Tupper Secondary School. This programme was developed under the direction of Jill Baird, Curator of Education & Public Programmes, with Danielle Mackenzie, Public Programs & Education Intern 2008/09, Jennifer Robinson, Public Programs & Education Intern 2009/10, Vivienne Tutlewski, Public Programs & Education Intern 2010/2011, Katherine Power, Public Programs & Education Workstudy 2010/11, and Maureen Richardson, Education Volunteer Associate, who were all were key contributors to the research, development and implementation of the programme. Program Description Architecture: The Museum as Muse, Grades 6 - 12 MOA is internationally recognized for its collection of world arts and culture, but it is also famous for its unique architectural setting. This program includes a hands-on phenomenological (sensory) activity, an interior and exterior exploration of the museum, a stunning visual presentation on international museum architecture, and a 30 minute drawing activity where students can begin to design their own museum. -
Press Kit Shangri-La Hotel, Paris
PRESS KIT SHANGRI-LA HOTEL, PARIS CONTENTS Shangri-La Hotel, Paris – A Princely Retreat………………………………………………..…….2 Remembering Prince Roland Bonaparte’s Historic Palace………………………………………..4 Shangri-La’s Commitment To Preserving French Heritage……………………………………….9 Accommodations………………………………………………………………………………...12 Culinary Experiences…………………………………………………………………………….26 Health and Wellness……………………………………………………………………………..29 Celebrations and Events………………………………………………………………………….31 Corporate Social Responsibility………………………………………………………………….34 Awards and Talent..…………………………………………………………………….…….......35 Paris, France – A City Of Romance………………………………………………………………40 About Shangri-La Hotels and Resorts……………………………………………………………42 Shangri-La Hotel, Paris – A Princely Retreat Shangri-La Hotel, Paris cultivates a warm and authentic ambience, drawing the best from two cultures – the Asian art of hospitality and the French art of living. With 100 rooms and suites, two restaurants including the only Michelin-starred Chinese restaurant in France, one bar and four historic events and reception rooms, guests may look forward to a princely stay in a historic retreat. A Refined Setting in the Heart of Paris’ Most Chic and Discreet Neighbourhood Passing through the original iron gates, guests arrive in a small, protected courtyard under the restored glass porte cochere. Two Ming Dynasty inspired vases flank the entryway and set the tone from the outset for Asia-meets-Paris elegance. To the right, visitors take a step back in time to 1896 as they enter the historic billiard room with a fireplace, fumoir and waiting room. Bathed in natural light, the hotel lobby features high ceilings and refurbished marble. Its thoughtfully placed alcoves offer discreet nooks for guests to consult with Shangri-La personnel. Imperial insignias and ornate monograms of Prince Roland Bonaparte, subtly integrated into the Page 2 architecture, are complemented with Asian influence in the decor and ambience of the hotel and its restaurants, bar and salons.